RBF’s Eclectic Excitement Playlist – August 2022

 RBF’s Eclectic Excitement Playlist – August 2022

Text © Robert Barry Francos / FFanzeen, 2022
Images from the Internet

Here is my limited monthly column of some relatively cult music, be it due to initial limited release, or just having fallen out of the mainstream eye. These will be of a multitude of genres, from punk to folk, to just out there.

The songs are listed alphabetically by first letter of the artist or group, and not in a “ratings” order. Art is subjective, so I hope you like these as much as I enjoy them.

Note: There is no advertising on this page, so I will not be making anything off the work of others.

AgesandAges
“No Nostalgia”
Knitting Factory
What is noteworthy about this ensemble, of course, is the harmony that brings out the rhythms as well. Even the solos are interesting if occasionally breathy. I like this live rendition as much as the original studio recording.

Cherie and Marie Currie
“Since You’ve Been Gone”
Capitol  Records / Renaissance Records
After leaving The Runaways (who I saw her play with at CBGB), lead vocalist Cherie went on to her own solo career, highlighted by this gem featuring her twin sister. Though they look alike, it’s easy to tell which is which by the way they dance. Cherie has some very distinctive splits. This song actually charted in the US Top 100, but faded as fast as it came.

Chris Stamey
“Summer Sun”
Ork Records
Known for his work with Alex Chilton and the dBs, this solo release (produced by Chilton) is a sublime slice of love on a hot afternoon in a pop format. Stamey’s voice is perfect for what he is trying to say. I’m surprised this did not become bigger. I once spent a fun afternoon hanging out with Stamey and Chilton while they were being interviewed for another fanzine. 

Cycle Sluts From Hell
“I Wish You Were a Beer”
Epic Records
A tongue-in-cheek metal cult classic, this is off the band’s only album. It’s co-writer, Honey 1%-er, would go on to the She Wolves as Donna She Wolf, and then Star & Dagger. I interviewed her more than once. The song is wild, ridiculous, and incredibly catchy. The whole “Singing in the Rain” part is a distraction, but the rest is gawdy good.

The Diodes
“Tired of Waking Up Tired”
Bongo Beat Records
This group is part of the Toronto First Wave punk movement, and occasionally still tour. Their other songs include the hook-laden “Child Star” about the death of Anissa Jones, and a cover of the Cyrcle’s “Red Rubber Ball.” But this live version of their song is, for me, my fave version.

John Watts
“URSo”
SoReal Records
The story I heard is that the song was originally supposed to be “You Asshole,” but Watt’s daughter suggested the change to make it more marketable. I agree. John is the lead of the British group Fischer-Z, as well as having a solo career. I had the opportunity to introduce him at a General Semantics conference where he performed. John’s voice is deep, and the regret of the song permeates the message.

Jonathan Richman and the Modern Lovers
“The New Teller”
Beserkley Records
Yes, I know Richman is an indie artist icon, and many of his songs, such as “Roadrunner” and “Abominable Snowman in the Market” are must haves. His appearance in the film There’s Something About Mary (1998) solidified his role as cult. I’ve seen him live at last four times since 1977 through 2018. However, this song is different as it wasn’t on any of his releases, but rather a compilation album called Beserkley Chartbusters Vol. 1. It remains my fave of his songs.

Psycotic Pineapple
“Hang on for Your Life”
Richmond Records
A song about driving that you should never listen to while driving, because odds are you’ll be speeding by the end. The vocals are unique and the song is hilarious. But it should be noted that all their songs off their album are worth a listen, such as “I Wanna Wanna Wanna Wanna Get Rid of You,” “I Forgot Who I Forgot Who I Was,” and the deadpan “Headcheese,” which is another favorite. The whole LP is spectacular in their quirky way.

Rachel Harrington
“Summer’s Gone”
Skinny Dennis Records
Americana music, a branch of Bluegrass, can be perky as hell, or hauntingly beautiful in gothic tones and themes. This falls into the latter. The banjo is striking in its slow pace as the ballad tells the story of the rains after the harvest, and a mystery of a family. It has stuck with me from the first time I heard it.

X-Teens
“Change Gotta Come”
Dolphin Records
Hailing from the DC area, this is a pop rock band with some punk attitude. The chorus is catchy as fire, amid the topic of the possibility of the end of the world. Note that, in my opinion, the video is too much, so you may want to forward to the actual song at 1:30. And maybe you will be able to answer the question, “Whatever happened to the Love Generation”?

Albums and Singles/Video Reviews: November 2021

Albums and Singles/Video Reviews: November 2021

 Text © Robert Barry Francos / FFanzeen, 2021
Images from the Internet

Note that these reviews are alphabetical by first letter, and not listed in a “ratings” order.

Albums:

James Lee Stanley & Dan Navarro
All Wood and Led
www.allwoodandled.com
This release is just part of a series of covers of classic rock songs, where the “wood” represents acoustic guitars, which have included albums of material by the Rolling Stones and the Doors (both previously reviewed on this blog). As Navarro says, “With absolute respect and admiration, we chose not to simply duplicate the originals, but instead imagined, ‘What if Led Zeppelin had lived in Laurel Canyon in 1967 instead of England?’” The folkie soul in me is quite satisfied with the rocker part of this collection. While not a popular opinion, I was never a Zep fan, and honestly, a lot of this material is new to me for that reason, giving it some virgin ears. They nail such classics like the obvious “Stairway to Heaven,” “Whole Lotta Love” and “Dazed and Confused,” but they also do a stack of non-radio saturated numbers like “Good Times Bad Times” and “Hey Hey What Can I Do?” True to their word, they reinvent the songs to their own spirits and it works out incredibly well. The Doors was a pretty easy translation, and the Stones’ blues riffs fit quite well into the model, but Zep is more of a transition, but the hand-to-glove still works in surprisingly good ways, mainly due (in my opinion) to Zep’s use of Olde English melodies in rock form, such as “The Battle of Evermore.” If you are either a folk fan or a curiosity seeker, this may meet your needs on multiple levels.
Full sample song HERE 

 

Nine Pound Hammer
When the Sh*t Goes Down
www.acetate.com
As the sticker on my CD clearly states, “Original members Blaine Cartwright and Scott Luallen team up with Ramones Super-Producer Daniel Rey.” Who in my shoes could not have their curiosity piqued? Especially since I am not very familiar with the Kentucky cowpunk (their description) band. I must say, after most of my life being force-fed Southern Rock like Skynyrd with the occasional good stuff like Rank & File and Nashville Pussy (which shares Blaine as guitarist), this is so refreshing. From the opening, using a clip of Mel Blanc’s Foghorn Leghorn, you know they don’t take themselves too seriously (meant in attitude, not aptitude). Starting strong with “What Kind of God,” and especially the second, title cut, you can definitely hear the Rey influence as the sound is laid bare and stripped, though Cartwright’s guitar flairs brilliantly here and there. It’s almost like the Ramones zeitgeist if they listened to country rather than surf and girl groups. At gut-wrenching speed, most songs are quite short at about 2:30, with a couple being longer. Their mindset can be seen in titles like “Street Chicken,” “Mama Lied,” “Billy Lost His Feet,” “Get the Hell Off the Farm,” “Daviess Co Tractor Massacre,” and “Lizard Brain.” I know I haven’t gotten the full effect of the lyrics yet, but this one is so much fun and kicks so much butt, it will certainly be replayed, so I’ll get there and enjoy the ride. Just wish there was a lyric sheet included.
Full title cut can be heard HERE 

 

Yod Crewsy
The Longings of Paul Roalsvig
www.darkmarbles.com
Before he was in bands like the Splatcats, the Sky Cabin Boys, the Dark Marbles and the Bernie Kugel Experience, Yod was known by his birth name, Paul Roalsvig. This two-disc collection is split into a “Love” group and “Peace” selection. There are 31 cuts in total, being a mix of covers both infamous and obscure, and originals. Some of Buffalo’s musical royalty appear on here, such as Dave Meinzer, Russell Steinberg, and Cathy Carfagna. He starts off strong with Icehouse’s “Crazy,” which follows one of Yod’s personal favorites, the poppy theme to the film “That Thing That You Do!” Third cut in is when we get our first original, “I’ll Keep Sending You Flowers,” proving that Crewsy knows his way around creating both a melody and a strong lyric. Of course, I won’t be discussing all the cuts, but will pick and choose. His cover of the Stones’ “Dead Flowers” is almost projected through a folk lens which actually works quite well. More somewhat obscurities with Dylan’s bluesy “I Threw It All Away” and the Monkees’ “Sometime in the Morning,” and then a deep version of Orbison’s classic “In Dreams.” The more folk-oriented Peace disc starts off with one of my fave tunes, “Eve of Destruction”; here it is handled more folk pop leaning towards the Turtles cover rather than Barry McGuire, but the stanzas are intact. Included are masterful covers such as Dylan’s snarky “With God on Our Side” (banjo led), Nick Lowe’s “(What’s So Funny About) Peace, Love and Understanding,” and a raucous Five Man Electrical Band’s “Signs,” But the gem here is the back half of this second disc that is solid originals, including “Edie” (about Edie Sedgwick) and the timely ballad “When They Stormed the Capital.”
Full sample song HERE 

Singles:

Chesty Malone and the Slice ‘Em Ups
Turn to Crime
1332 Records / www.chestymalone.com/
Despite moving relatively recently to the hinterlands of Pennsylvania, CMatSEUs have lost none of their drive or appeal. The main focus is still vocalist Jacqueline Blownaparte and her partner in – er – crime, guitarist superb Anthony Begnal, with a new bassist and drummer. Their aggressive hardcore both brings reminiscence of the 1980s style of in-your-face madness with a touch of harmonies that do not fall into the wishy-washy ‘90s Green Day kind of fluff. What I especially like about the chorus is that it can be both chantable, and can be used in the fist pumping way to build up adrenaline for the mosh pit (or in lieu of it; I’m old enough to be a lieu of person, but I digress…). Possibly the best comparison would be the flavor/attitude of the Cramps mixed with the influence of the likes of GBH. This is just one side of their new single (7”-er, remember them?). This is some of the better post-hardcore sound I have heard in a while, and a high mark even for them, and they set the bar high.
Can be heard HERE 

 

The Dictators
“Let’s Get the Band Back Together”
2:25 minutes
Dictators Multi/Media
I have liked the Dictators (DFFD) since I heard their introductory album, and even more when I saw them live (CBGB in 1975) for the first of multiple times (including at The Bottom Line, The Left Bank, and Irving Plaza). Over the years, HDM got most of the attention, but I always thought that the songs Andy/Adny Shernoff voxed were amazing, as well. They had a style that was metal and could be juvenile at the same time, which was part of their charm. Songs were singalongs and often brilliantly silly (such as “Master Race Rock”), but they could also be profound (“Steppin’ Out”). Over the years through various incarnations of the band, they are back, with Andy on vocals and bass, ace metal guitarist and right winger Ross “The Boss” Friedman, Albert Bouchard (ex-Blue Oyster Cult) on drums, and for this recording, the recently late, great rhythm guitarist Scott “Top Ten” Kempner. This song feels, in tone, like it could fit somewhere between the first and second album. The “C’mon” in the chorus, sung by Manic Panic/Sic F*cks’ own Tish and Snooky Bellomo, is certainly chantable, layered with Andy’s New Yawk accent, sounds like fun. The phrasing of the song is a bit melodic rock, even with Ross’s solo burst, but with its occasional hint of early rock’n’roll on some parts, it is definitely an enjoyable listen. While I look forward to the full album, as an aside, after you have heard this Dictators’ song, it is also worth hearing an earlier, more pop solo Shernoff version of it from almost a decade ago HERE. 
Full song can be heard HERE 

 

Gary Louris
“Almost Home”
3:31 minutes
https://orcd.co/jumpforjoy
This travel song has a nice “hoo-hoo-hoo” chorus to sing along with, with it’s poppy and upbeat singer-songwriter tone. Of course, as should be, the rhythm is steady like the wheels of the car (truck?) humming along a highway, not too far from the final exit. Louris’ vocals fit the sound so well, and the video that accompanies it is arty without being obtuse. It’s as simple as the driving beat. Humorously, I wonder about the line “When I close my eyes, I see your face…” Err, aren’t you driving? Still, the chorus is extremely catchy possible earworm and a hoot. A good listen, but that should come as no surprise as he was in the seminal band The Jayhawks, and a founding member of “supergroup” Golden Smog.
Can be heard HERE 

Singles/Video Reviews: March 2021

Text © Robert Barry Francos / FFanzeen, 2021
Images from the Internet

Singles/Video Reviews: March 2021

Note that these reviews are alphabetical, not listed in a “ratings” order.

 

Adrian Younge
“Revolutionize”
Jazz is Dead
Younge takes a few different styles and successfully mixes them together. The song starts a bit like The First Poets, arguably the first – and I believe best – political rap groups, with sharp lyrics over atonal music. This flows into a 1970s style rhythm and sound of bands like the O’Jays, but with a sharper tone and a jazzy piano thrown in (amusingly ironic considering the name of the label that put this out). The lyrics the first part are a bit drowned out by the noise in the mix, but the message still comes through, especially on a second listen. This is the right time for this strong imagery by musician, composer, producer, and ex-Law Professor Younge, considering what is going on across America with the re-rise of a culture of hate of the “Other.”.
Can be heard HERE 

 

Amiture
“Touch”
Dots Per Inch Records
I hear a lot of people being nostalgic for the British-pop music of the 1980s. Most of that, I don’t understand. It was all synthetic beats, nonsense lyrics, and downer messaging. A lot of the videos, though, were pretty interesting (Human League’s “Don’t You Want Me,” for example). If you are one of those, you are going to love Jack Whitescarver’s output as much as I did not. Yes, I found the video stunning and odd, but the music is such a throwback to the ‘80s that I almost immediately glossed over and wanted to go turn on a garage band (perhaps the Tryfles or the Outta Place?) or some Heartbreakers (JT, not TP) to cleanse my palate. Please, if the ‘80s were your thing, you’re probably going to love this, and you should give a listen. It comes from their debut album, The Beach.
Can be heard HERE 

 

Arms of Kismet
“Potter’s Field”
Wampus Multimedia
I have been listening to AoK for a few releases now and have always enjoyed them. So, why should this be any different? The ballad here is light and airy in tone, with an almost dreamlike rock of the cradle in the breeze. It has a ‘60s garage tone, without the farfisa, relying on a triple time waltz of schmaltz. It’s not as zoned out as some meditation music, due to its razor sharpness buzz, but I found it soothing and quite beautiful. There is a lot thrown in there, from harmonious and soaring choruses to the electronic sounding reading near the end (apparently, it is taken from the final comments of Louis XVI as he was to be executed). Definitely worth a listen if you like garage influences with a modern car in the structure.-
Can be heard HERE 

 

Ashley Monroe
“Drive”
Mountainrose Sparrow/Thirty Tigers
Off her fifth studio album, Rosegold, this single is a bit confusing to me. Hailing from Nashville, the video looks like it would be a nice country pop song, but the music itself is merely a modern, overproduced pop ballad. It brings nothing new to the table. Don’t get me wrong, Monroe has a good voice, as far as I can tell; I have no idea if it is autotuned, but this is the kind of sound (not that ridiculous T. Pain electronic tone) I find with a lot of modern recordings, which I try to avoid as much as possible. Being off her nearly half-dozenth full release, I am going to assume she has a following, and my opinion hopefully will not matter a hill of beans, but this is the kind of material that lead to why I stopped listening to country. If this is the style of material she is releasing, I don’t need to hear more, but wish her well.
Can be heard HERE 

 

Haunted Shed
“Umami Bomb”
Strolling Bones Records
Athens, GA, has always been a den of quirky musicians, from R.E.M. and Pylon to Love Tractor. Haunted Shed, led by Etienne de Rocher, certainly has an unusual, almost electronic psychedelic sound. In fact, they remind me of a more modernized version of bands that came off of the International Artists label in Texas, especially like Red Krayola’s The Parable of Arable Land: a lot of noisy sounds with electronic eccentricities and standard instruments as well, with a high studio magic. The video is as odd as the music, which is apparently about food, but the lyrics are extremely hard to make out. This isn’t casual composition you can necessarily dance to, but it is nicely subversive while still keeping some rhythmic elements to it. I must say, by the time the video ended, I was definitely getting into it all.
Can be heard HERE 

 

Manolo Redondo
“Try”
Violette Records
Redondo is from the Alps, but lives in Paris. Despite that he sings in perfect English for those who feel more comfortable. He has a casual, singer-songwriter style, with just a whiff of a pop feel (in this case a good thing). Written as an aftermath of road trips in places like Paris, Mexico and the Mojave Desert, his tunes are poetic soundtracks to movement and life, as well as, indicated by the title, trying your best. It has a sweet tone with an almost melancholy underbelly of hopefulness. This is from his EP, The Lost and Found.
Can be heard HERE 

 

Mason Lively
“Happy Home”
www.masonlively.com/
From the slide guitar in the opening musical phrase, there is no question that this is deep cowboy-boots-Stetson-hat country. At a slow ballad pace and a nice classic nasal twang, Lively keeps up the tradition of a 1980s stye before it gave way to a pop influence. Lively presents us with a marital (or at least co-habitation) break-up with a blues riff and soaring chorus to give us a tale of heartbreak. Like I said, classic country. Luckily, he’s got the chops for it. Personally, I kinda stop listening to country in the 1980s when it developed a pop fusion, but this harkening back makes me reminiscent for some good ol’ boys (and girls) sitting around with gee-tars, howling at the moon in love pangs. Don’t read this wrong, it is a powerful song that belies a sound that is both a throwback and with a new twist, with a bridge that echoes a bit like it came off a Jim Croce record. This is from his eponymous second album.
Can be heard HERE 

 

Megan Wyler
“The Calling”
Nowever Records
This is Megan Wyler’s first release in seven years, having started a family and focusing in on that. Her voice is superb in this liquid ballad about “a kind of dark exploration around the disorientation of loss and where that takes you,” she has said. There is a strong rhythm that flows though the song with her voice lilting over it, moving up and down the scale smoothly. The tone reminds me of the style of Claudine Longet (sans accent), with a slight whisper, but the song builds to a surprising and stirring climax with Matt Sweeney’s guitar swelling and a bit dissonant as a counterpoint to the sorrowful sound up till then. It’s a beautiful piece.
Can be heard HERE 

 

Sloping
“Raft”
Sound as Language
From the album Completed Songs, JJ Posway (Scooterbabe) presents a singer-songwriter introspective and moody ballad piece with acoustic guitar for melody and overdubs for harmony. I have listened to a couple of other songs off the album, and this the better one. Light and airy, with more than a hint of navel-gazing, Posway slides through the song on a field of gloss, like skating on a pond under the moonlight. The song is very listenable, with a twinkle in the eye. If I got it right, the song is about not wanting his partner to feel bad if he dies (unless I misheard the soft-spoken lyrics), but even with the slow pace, it is not moribund.
Can be heard HERE 

 

Tom Jones
“No Hole in My Head”
S-Curve Records/BMG
He may be getting’ up there (a couple of songs from his new album, Surrounded By Time, include “I’m Growing Old” and “Lazarus Man”), but even after all these years, Jones does not fail to both surprise and stretch as an artist to make himself relevant. Taking cues from his acting career (remember how great he was in 1996’s Mars Attacks!), the video sets him up to confront some authority figure as he rocks out while fronted by a sitar. The song and the video show defiance, anger, and positing that, well, Tom’s the man. I love the chorus of “There’s no hole in my head / Too bad!). It’s all about personhood and the willingness to stand up for yourself. Best Jones song I’ve heard in a while. The album also sounds interesting, which includes covers by Dylan (“One More Cup of Coffee”), Cat Stevens (“Popstar”) and the classic “Windmills of Your Mind.”
Can be heard HERE 

Singles/Video Reviews: February 2021

Text © Robert Barry Francos / FFanzeen, 2021
Images from the Internet

Singles/Video Reviews: February 2021
Note that these reviews are alphabetical, not listed in a “ratings” order.

Anya Marina

“Notice Me (Live from Rockwood, NYC)”
www.anyamarina.com
This is off her sixth album, Alive and Alone in New York, which was recorded at the great Rockwood Music Hall on the Lower East Side, which has sort of become the CBGBs of singer-songwriters (with cleaner bathrooms). “Notice Me” is one of her signature songs, and on the original album, it is produced with a wall of sound that accentuates the mood with overdubs, and a much larger group behind her. For this recording, it’s just her and her guitar, and feels way more personal. With a chantable “do-do-do” chorus, it can easily be a pleasurable ear worm as she feels neglected by her lover. It’s a bit of an upbeat song and doesn’t actually feel as desperate as the topic sounds. It’s coyer and sexier, with a hint of frustration, with Anya’s lovely falsetto voice playfully calling out. The album has 17 tracks covering her career, and this is the first single. You can find the original version on YouTube if you’d like to compare.
Can be heard HERE 

 

Ben Howard
“What a Day”
Republic Records
From the upcoming album, Collections from the Whiteout, Ben’s fourth full release is a “pastoral” sound as the singer reminisces about where the time goes. It’s a nice, light sounding ballad that has some deep thoughts imbued with a mild, melody backed up by what sounds like a drum machine (though I could be wrong). The production is high, but it doesn’t necessarily overwhelm here. It’s also pretty catchy, which is always a good thing. His British inflection is also endearing. The video seems almost straight out of a Monty Python sketch, with a bit more seriousness. I might actually go listen to the album, at some point.
Can be heard HERE 

 

Carla Geneve
“Dog Eared”
Dot Dash; Remote Control Records
Australian 22-year-old music teacher hits the pop rock trail on her solo album, Learn to Like It. Filled with encouraging girl power – as one can see in the song’s video – Carla has a strong voice and belts out on choruses, hovering the line between alt pop and rock. Dealing with finding self-worth because she “always feel so useless,” but acknowledges she “still has something to lose,” meaning there is some possibility of positivity. It’s a really good song, the production is tight without being overbearing, and it’s lyrically smart. The road trip video filled with her friends is cheerful, as is, on some level, the song, as she pulls herself up. Liked this one a lot.
Can be heard HERE 

 

The Cavemen
“Am I a Monster”
Pig Baby Records
Thematically, what if the early Cramps had been a hardcore band instead of voodoobilly? That is one way to look at New Zealand “ghoul punks,” The Cavemen. The song is a three-chord mosh fest with a horror motif. While I heard the recording rather than seeing a video, I have seen picture of them, and they seem quite energetic, which is definitely present in their music that seems highly influenced by the early 1980s H/C and garage scenes. The melody of the song is certainly catchy, though it’s hard to tell what they’re saying much beyond the chorus, which is the song’s title, and a few snippets here and there about loneliness, due to a garage-rock level of vocal fuzz. This definitely harkens back to a minimalist period, pre-extended guitar solos by the likes of Ginn and Mascis, but that’s okay with me; there is a brief and raucous burst, though. A Ramones-ish slagging of basic chords and speed is just what I like. These guys sound like they’re a lot of fun, and this one will get some more listens by me over time.
Can be heard HERE 

Elise Davis
“Yellow Bed”
Tone Tree
Nashville singer-songwriter Davis released her single, “Yellow Bed,” from her third album Anxious, Happy, Chill. I have seen a few of her videos performing live in her bedroom or on stage, and she is really amazing. Her songs are poignant, such as this one about relishing time with her husband. That being said, I had a bit of trouble with this song, recorded in a studio. The sound is very flat and electronic, including the processing of her voice via reverb, which makes it lose its beautiful tone, giving it a kind of impersonal feel when the song should be emotional. I hate saying this since I like her and I enjoy her voice, but it is the production here that squashes her sound. I believe if I saw her do this live, I would enjoy it a lot more. I say go seek her out, find her videos and enjoy. This is the only song off the album I have heard and I’m hoping the rest of it is more loyal to what she has to offer.
Can be heard HERE 

 

Half Waif
“Orange Blossoms”
Anti- Records
The first single by Half Waif – aka Nandi Rose – is quite lovely, albeit sad. As described by her press, it is “a desperate plea to be rescued from wrestling with everything.” In a voice perfectly suited for the song, the protagonist is in urgent need for help kick-starting her life at the moment, asking repeatedly for “someone” to do things like answer an email, or “make me think I’m worth something.” Thematically, it reminds me of The Allen-Ward Trio’s “I Need a Friend,” but rather than folk, this is more modern singer-songwriter. Yes, she’s listed as alt pop, but I would not personally put this song in this category. There is some lovely harmonies snuck in, backed by an electric piano in the forefront. It’s a powerful, lovely tune and is both bleak and, at the end, hopeful. It’s a keeper.
Can be heard HERE 

 

Lost Horizons, featuring Marissa Nadler
“Marie”
www.bellaunion.com
www.losthorizonsmusic.com
Lost Horizons is the collaboration, among others, of Simon Raymonde (Cocteau Twins) and Richie Thomas (Dif Juz), and this single is included in their new album, In Quiet Moments, Part 2. They are joined by Marissa Nadler to front it (other songs on the double album are voiced by different singers). As one might expect from Raymonde and Thomas, the song is strongly studio-enhanced, moody and I might add gothic. The shadowy reverb is ramped up and it almost sounds like a ghost is singing it. Nadler has a good voice, somewhere in there, and I would have liked to have actually heard it clearer through the production. The song itself is a quiet, slow, and soft footed ballad, reminiscent of XTC’s “Somnambulist.” After a couple of listens, it is starting to grow on me, more for Nadler, honestly. Because of the production, I couldn’t make out much of the lyrics; however, it sounds melancholic.
Can be heard HERE 

 

Thee Sacred Souls
“It’s Our Love”
Daptone Records; Penrose Records
Hailing from the San Diego area, this soul trio (perhaps they could have called themselves “Three” Sacred Souls?) fit somewhere in the post-Motown category with the likes of the Ohio Players (sans horns) and Al Green. Vocalist and lyricist Josh Lane uses his falsetto voice to lull the listener about his love in a Barry White ballad speed. Soul is not my forte, honestly, but I was charmed by the sound here, as Sal Samano and Alex Garcia skillfully back him up with their rhythms (guitar and drums). The video is quite simple, as is the tune, mostly shot with the band in the studio.
Can be heard HERE 

 

Yonaka
 “Seize the Power”
https://www.facebook.com/weareYONAKA/
This track is listed as “Dark Alt Pop with Heavy Riffs” on their Facebook page. That feels accurate. It’s definitely modern, with heavy production and added with some pop fusion. It’s like if Lady Gaga’s style was thrown in a blender with some electronica and white rap, fed through some anger and entitlement. It’s decent, as even the rappish parts aren’t too stereotypically done. The positive behind it is its power, as Theresa Jarvis forcefully infuses her lyrics with drive, almost yelling above the British band’s studio-infused minimalist melody.
Can be heard HERE 

 

Zadar
“Upstairs Room”
https://zadars.bandcamp.com/
Not to be confused with the Yiddish “Zaydeh,” nor the city in Croatia, their publicity calls them “scathing post punk [sic] from Philadelphia,” sounding like Sisters of Mercy. Really? This song is essentially based on a dissonant B-52s-type rhythm played electronically over an over, with Fred Schneider-style vocals without the charm. Even the lyrics are repetitive and kind of monotonously mundane. I’m not a fan. But then again, I was bored by Sisters of Mercy, as well.
Can be heard HERE